96. S. Pierre, Chartres.
The grisaille in the clerestory at Bourges is similar to the Salisbury work, but it is not possible to get near enough to it to make careful comparison. The scrollwork on [page 143] may be profitably compared with the very unusual white window at S. Jean-aux-Bois ([overleaf]). There the design consists altogether of scrolls in white upon a cross-hatched ground. It is as if the designer had set out to glaze up a pattern in white upon a white ground, cross-hatched. But it is obvious that, as there is no change of colour, it was no longer necessary always to cut the ornament out of a separate piece of glass from the ground. We find consequently that, wherever it is convenient, a painted line is used to save leading. That, it has been already explained ([page 24]), was a practice from the first; and it was resorted to more and more. It came in very conveniently in the French windows, in which the design consisted largely of white strapwork. It was adopted in the example from Châlons [here given], though it does not appear in the sketch, any more than it does in the glass until you examine it very carefully. However, in the sketches from the great clerestory window from Reims Cathedral ([overleaf]), and in the smaller one from S. Jean-aux-Bois ([facing it]), the economy of glazing is easy to perceive; whilst in that from Coutances ([page 147]) the glazier is already so sparing of his leads that they no longer always follow or define the main lines of the pattern.
97. GRISAILLE, SALISBURY CATHEDRAL.
J. Akerman, Photo-lith, London.
98. Châlons.